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Florestano Di Fausto and the Politics of Mediterraneità

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Florestano Di Fausto and the Politics of Mediterraneità *Please click on ‘Supporting Material ’ link in left column to access image files * The Light and the Line: Florestano Di Fausto and the Politics of Mediterraneità Sean Anderson Architecture was born in the Mediterranean and triumphed in Rome in the eternal monuments created from the genius of our birth: it must, therefore, remain Mediterranean and Italian. 1 On March 15, 1937 along the Via Balbia, an 1800-kilometer coastal road linking Tunisia and Egypt, Benito Mussolini and Italo Balbo, then provincial governor of Italian Libya, inaugurated the Arco di Fileni, a monumental gateway commemorating two legendary Carthaginian hero- brothers, while on their way to Tripoli to celebrate the first anniversary of the Italian colonial empire. Designed by the architect Florestano Di Fausto, the travertine arch, with its elongated archway and stacked pyramidal 31-meter high profile, was built atop a purported 500 BCE site that marked the division between the Greek territory of Cyrene and Carthaginian holdings to the east. Atop the arch, an inscription by the poet Horace, made popular by the Fascist party with a stamp issued in 1936, emphasized the gateway’s prominence in visual terms: “O quickening sun, may naught be present to thy view more than the city of Rome.”2 The distant horizon of Rome, or more broadly, that of the newfound empire, framed by the arch, condensed an architectural, political, and spectral heroism that was akin to the civilizing mission of Italian colonialism. Here, the triumphant building of the arch, the road that passed through it, and the transformation of the Libyan landscape denoted the symbolic passage of an Italian consciousness into what formerly been indeterminate terrain. While the Janus-like apparition of the arch in the desert marked the boundary between East and West, past and future, for its architect, the site also gave way to the construction of an “eternal” monument signifying the potential of Italian colonial architecture to exist at the border between two worlds. Arguably one of the most important architects and proponents of Italian modern colonial architecture, Roman architect Florestano Di Fausto, has, until recently, been overlooked by historians of modern architecture. As a technical consultant to the Ministero degli affari Esteri, Di Fausto designed and constructed numerous Italian diplomatic offices throughout Eastern and Western Europe, South America, and the Near East. 3 But he is most recognized for his colonial urban planning schemes and government buildings from 1923 until 1940 in the Aegean Dodecanese and Libya. His works in these divergent locales conferred an eclectic sensibility to an already complex negotiation of ancient and modern forms present on the islands of Rhodes and Kos, as well as in the colony of Libya. Moreover, the range of projects Di Fausto completed in both settings attests to Italian modernism’s engagement with contextual idioms in the making of colonial architecture and urbanism. Unlike many of the public structures built during the French colonial campaign in North Africa, Di Fausto’s built and unbuilt projects refine the 1 Florestano Di Fausto, “Visione mediterranea della mia architettura,” Libia 1:9 (December 1937) 16-18; 18. 2 The inscription read as follows: Alme Sol Possis / Nihil Urbe Roma / Visere Maius. 3 Most notable among these include the Italian Legation in Belgrade (1924-1926) and Cairo (1928-1930), the Casa degli Italiani in Algiers (1931), the Italian Embassy in Ankara and the Italian Consulate in Tunis (1931-1932). Following his work in the Dodecanese, Di Fausto will briefly work in Albania, designing the Casa dei Funzionari (1927) and the Palazzo Reale di Durazzo for King Zog (1928-1930). 1 vagaries of traditionalism into a medium that is difficult to categorize. His architecture stands between histories. It is neither modern nor traditional. The works discussed in this essay individually conflate historic precedent with that of Italian modernism while simultaneously redefining the characteristics of both approaches. Yet, Di Fausto’s projects must also be seen as a counterpoint to other European modernists of the period, including Adolf Loos and Le Corbusier, who sought to reconfigure and sometimes erase symbolic identities in their plans, façades, and interiors. Di Fausto’s prodigious output in the colonies provides a corollary to such architects, including those working for the regime on the Italian peninsula, by intensifying the circuit of European modernism to the colonial context. I intend to situate Florestano Di Fausto’s works within the aesthetic and socio-political discussions among Italian architects of the period, especially concerning an inherent italianità among Mediterranean vernacular architectures. In this regard, the Mediterranean is understood not as a space of resistance but as a filter through which architects like Di Fausto and others generated a new Italian architecture in the colonies. Architects working for the Ministero delle Colonie claimed that Italian colonial architecture arose from a shared vision of mediterraneità . Gustavo Giovannoni, Giovanni Pellegrini, Alessandro Limongelli, Luigi Piccinato, and Carlo Enrico Rava all published essays in architectural journals deploying the much-debated dialectics of tradition and modernity as a point of departure for the instantiation of an Italian character in the overseas territories. But in whose tradition and by which modernity were such assessments positioned? Invariably, notions of italianità and mediterraneità shifted according to colony and region. In this paper, I explore Di Fausto’s urban projects in Rhodes and Tripoli as falling both within and outside amplifications of mediterraneità described in part by architects working along the edges of the colonial sphere. Di Fausto did not publish significantly in architectural journals, suggesting that those discussions concerning the making of a Mediterranean architecture occurred without his direct involvement. 4 As a result, Di Fausto’s urban plans and buildings in Rhodes and Libya crafted modern surfaces of projection imbuing the modern architecture of these locations with ambiguous identities. The mandate of Italian colonial architecture, to explicate the historical via the popular imaginary, reverberated in the making of an Italian modernity, both in peninsular Italy as well as in the fundaments of its colonial cities. While the modulation of this discourse was indeed a hallmark for the Risorgimento and in part for fascism, the impetus for Di Fausto lay at the fixing of the Mediterranean to an already mediated history. Unlike his early redesign of a niche in St. Peter’s Basilica dedicated to St. Pius X, the multiple temporalities of the Mediterranean basin saturated Di Fausto’s architecture. 5 It is therefore difficult to disentangle the leitmotifs of Di Fausto’s designs in the colonies from contemporaneous questions about the trajectory of (Italian) 4 For a comprehensive treatment of Di Fausto’s early works as well as political affiliations see: Giuseppe Miano, “Florestano Di Fausto from Rhodes to Libya,” Journal of the Islamic Environmental Design Research Centre (1990) 56-71. As of yet, there has been no monograph published on the works of Di Fausto. The first and only work examining the pre-war works of Di Fausto (and not in the colonies) is Michele Biancale, Florestano di Fausto architetto (Geneva: Les Archives Internationales, 1932). See the bibliographic entry in the Dizionario biografico degli italiani 40 (Rome 1991) 1-5 and a discussion in Giuliano Gresleri, Pier Giorgio Massaretti and Stefano Zagnoni, Architettura italiana d'oltremare 1870-1940 (Venice 1993) 373. Brian McLaren’s recent analysis and critiques of Di Fausto’s regionalist and contextual projects as part of the larger campaigns for colonial tourism in Libya will be closely observed further in this essay. 5 Dedicated in 1923, and carved by Pietro Astorri, the spare niche includes the outstretched figure of the Pope, whose common beginnings as the son of a seamstress and a postman, suggests that through the design, the architect was interested in speaking to a larger population with simplicity and directness. Di Fausto’s intimacy with the Church is also found with a 1930 project for the Chiesa Santa Croce in Gerusalemme, in Rome, in which he designed and built the Cappella delle Reliquie to house several Passion relics. 2 modernism. Faced with the crafting of a modern (colonial) architecture befitting contexts as varied as the Dodecanese and Libya, Di Fausto traverses local vernaculars with a methodology that places political agency in alignment with social, climatic, and technological concerns. Brian McLaren writes, “The Mediterranean architecture of Di Fausto embodied a contextualism that attempted to absorb the characteristic forms and buildings of the local architecture.” 6 In so doing, Di Fausto asserts the preternatural capacity of the Italian colonial project to continuously redefine the vision of itself while staying true to the origins of place. In his only published essay, Di Fausto asserts: “I have not betrayed my land, nor my sky! And my colonial architecture . could not betray it as a result.” 7 How Di Fausto maintained such an ethics of a mythic yet evanescent landscape is shaped by the twinned courses of Italian colonialism and mediterraneità . In a 1901 text, physical anthropologist Giuseppe Sergi claimed that the Italians were of a “Mediterranean race.” 8 By 1905, the notion of a pervasive Mediterranean consciousness contributed to a hygienic discourse for the colonies and, in particular, Libya’s capital city, Tripoli. Such calls heed a physical as well as cultural cleansing: “Member of Parliament Giovagnoli states that as the Mediterranean and the Adriatic are Italy’s lungs, if Tripoli . should fall under the control of any power, we would be unable to breathe in that area.” 9 Such fascist presentments resemble those eugenic directives in the colonial context thereby affecting the production of a “pure” and resolutely modern Italian architecture. This risanamento of the built environment also connoted the mode by which vision is framed and re-framed by the modern architecture of the colonies.
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